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Music Analysis

The song ‘Wind beneath my wings’ was written in 1982 by Jeff Silbar and Larry Henley and was first originally recorded by Roger Whittaker. In the movie ‘Beaches’ the song is used, however it was re-recorded to perform a female rendition by Bette Midler. Bette Midler’s interpretation of ‘Wind beneath my wings’ is more suited to the atmosphere captured in the movie ‘Beaches’ through the analysis of the musical elements, timbre, dynamics, duration and compositional devices. The timbre in Bette Midler’s ‘Wind beneath my wings’, portrayed a variety of moods and an overall thematic idea, but the timbre can be best described as empowering, solemn and warm whereas Roger Whittaker’s encapsulates yet again an empowering and warm but lively timbre. Each version uses the same accompanying instruments such as, strings, synthesisers, drum kit, however the main difference are the vocals. Roger Whittaker’s is more bold and manly whereas Bette Midler’s rendition is more suited to the atmosphere captured in the movie ‘Beaches’ as the female vocals portray the character’s emotion and feeling in the particular scene. As well as the captivating timbre produced from Bette Midler’s version of ‘Wind beneath my wings’, dynamics portrayed a more suitable atmosphere for the movie ‘Beaches’. Bette Midler’s version executed a contrast of dynamics especially in the chorus where it really built in loudness which expressed a strong message from the female character in the movie in comparison to Roger Whittaker which had little change in dynamic and a low, deep male vocal. Timbre and dynamics in Bette Midler’s version have been analysed to be more suitable in the movie ‘Beaches’ in comparison to Roger Whittaker. From the two songs, the duration was simple quadruple or four crotchet beats per bar. However Bette Midler’s version was expressed more strictly on the beat whereas Roger Whittaker was more free and used the compositional device augmentation on words heard in the chorus – ‘know’,...

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in the
Forma Sonata | Tonality | Motif | Performer | Approach |
Refrain | 1st
T
H
E
M
E | E
X
P
O
S
I
T
I
O
N | D
M
a
j
o
r | A
solo
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1-4 | Soloist | The Refrain is introduced by the soloist, in low and high registers in sequence. The theme is repeated, forte, by the entire orchestra. |
| | | | A'
tutti
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21-24 | Orchestra | |
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T
H
E
M
E | | | B
"caccia"
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45-49 | Soloist
+
Orchestra | The soloist embellishes the melody over a typical "corni da caccia" ("bugle") theme. |
| | | | C
retransition
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59-62 | Soloist
+
Orchestra | The second part of the episode gradually takes us back to the main key and Refrain, which the orchestra introduces by reworking fragments of the theme. |
Refrain | C
O
D
A | | | A
solo | Soloist | The consequent to the refrain, bars...

...Grease (1978) music: Leonard Bernstein
I think the effectiveness of a musical film in comparison to a film score in a non-musical largely depends on the target audience of the film, genre of film, and plot of the film. In musical films like Grease, Chicago, Les Miserables, West Side Story, and Mama Mia, the musical and choreographed aspects of film work with the plot in an effective manner. I feel like [romantic] comedies (eg. Mama Mia and Grease) and dramas (eg. Les Miserables and Chicago) are the two genres that are best made in to musical films. Musicals are able to break down language barriers, telling the plot of the film through song which evokes plenty of emotion that is universally understood. West Side Story is a perfect example of a musical where choreography and music helps the audience to understand the story even though they might not understand every word of the lyrics. Musicals are able to effectively tell a story if the plot is more simplistic.
Contrary to [romantic] comedies and dramas, turning an action or science fiction film into a musical would be simply ridiculous. If we were to imagine an action film like The Dark Knight or Star Wars as a musical, I don't think these films would have been nearly as successful as they have been today. One reason for this is the target audience for films like Star Wars and The Dark Knight have the potential to be vastly different from the type of people who enjoy watching musicals like...

...Mustang Music Case Analysis
Date: 12/11/2011
Group 6
Mustang Music is a music store. Its president and chief executive officer (CEO) is Arthur Weber. He “graduated from a well-known performing arts conservatory with a master’s degree in music, double majoring in classical guitar and composition.” He opened the store three years ago.
Weber’s emerging vision was not merely to operate a music store and earn a living. Mustang Music’s strategy from the start concentrated more on quality of its services and the richness of its product. Weber “wanted to provide a world-class musical education and high quality instruments to the general population and perhaps in the process, help to identify and develop the next gifted Hendrix,” Santana, Joe Satriani or even Keith Richards.
With the perfect combination of store location, effective promotional style and great customer relationship building skills, Weber was successful in achieving his vision that he set for himself and for Mustang Music.
The store has three zones: retail showroom, five small-soundproofed classrooms and office area. Its classroom setup was well planned and organized which provided great convenience not only to its customers, but also to the employees. The environment was built on such that it motivated not only the students that participated in its music, but also their parents, thereby,...

...Music in my Life
While walking today as I normally do, I turned around and your face came into my view. I could only imagine what was wrong with her. But at the end I understood what was wrong with her, it was music. This is what music does to people and I love it for that. Music makes people feel good inside so much that it might even hurt. Throughout my life, music has always been a major influence. It has the power to change my mood when I'm feeling down. Music is a cure for when I’m down and a joy for my happiest days. It’s part of my life and can express my feelings when my own words are not enough. There’s a song to every feeling I feel and I’ve yet to find them all. I can't remember the exact day I started listening to music, but since I found my passion I had for it. It definitely has gotten me hooked so therefore it receives a special place in my heart. I love the tone, the harmony, and tempo that it brings together to give it a perfect melody. Growing up in a poverty-stricken environment I turned to music to escape the atrocious things happening in my life; music allows me to feel, lets me express myself, and it changes my mood.
I’ve been made fun of more than once for loving the way music makes me feel. Based on some of the music I listen to, you’d think I spend my days curled up in the fetal position...

...Listening Log
1. 1-1 Second Sura of the Qu’ran, al’bogara (Islamic recitation)
Composer: Musee d’ethnographie
Where: Mevlevi Sufi, Turkey
How does the piece function in its native culture?
This is the call to prayer for the Muslim religion. This is not considered music. It’s a form of melodic religious expression.
- Musiqu: a category encompassing genres that may elicit negative associations of secular musical practice.
- Quran: sacred text revealed to the prophet Muhammad.
2. 1-6 ballad of Cesar Chavez
Composer: Originally by Francisco Garcia and Pablo and Juanita Saludado, reproduced by the Center for the Study of Comparative Folklore and Mythology.
Where: California- USA
What is the story behind the piece?
The march of that famed Mexican American leader in the struggle for the rights for migrant farm workers.
- Corrido: Texas- Mexican genre. A type of ballard.
3. 1-8 Rocks of Bawn
Composer: Joe Heaney (1919-1984)
County: Ireland
What does it represent as a whole?
This song represents an oppressed people, being driven out of their land.
- Ballard: A song that tells a story.
4. 1-9 Ketawant Subakastawa Pathert Slendro
Composer: Hardo Budoyo
Country: Indonesia
How does the piece function in its native culture?
The meaning lies in the recognition...

...YIRI- KOKO
STYLE: West African Music
Features of West African Music:
* Call and Response
* Musical knowledge is passed down through oral tradition
* Improvised melodies
* Repetition (ostinato)
* Layered, polyrhythmic textures.
* Cyclic structures
CONTEXT
* The country from which this piece comes from is Burkina Faso, West Africa.
* Koko is a group composing of 6 musicians, led by Madou Koné, the singer and balafon player.
* Yiri is the 4th track of Burkina Faso: Balafons et Tambours d’Afriquereleased by Koko in 2002.
* ‘Yiri’ means wood in the local dialect, referring to the wood used in the making of drums.
METRE
* Main metre of the piece is 4/4/, although a few bars are in different metres (eg. Bars 27, 94 and 120 use the metre ¾ and bar 47 uses the metre 5/4)
* A change in metre- from 4/4 to a bar of ¾ then back to 4/4 is used to signal the start of new sections (eg. Bar 95)
* The introduction is free tempo, and a steady pulse is maintained throughout the whole piece.
RHYTHM
* Within vocal and balafon parts, syncopation is frequently used (for example in bar 34 during the balafon break where every bar is syncopated)
* Cross rhythms are created in bar 66 during the vocal solo as the balafon plays semi quavers in groups of 3 (cross phrases) against quavers.
* Triplets are often used by the vocal soloist
* A rhythmic ostinato...

...[pic] |Enjoyment of Music 2012 CSUF
Study online at quizlet.com/_8cnf0 | |
|1.|12 | |How many major scales are there in Western music? |
|2.|active | |In Western music, dominant and subdominant chords are called _______ chords: |
|3.|additive meter | |A grouping of beats that adds up to a larger overall pattern is called: |
|4.|binary | |The form in which there is a statement, followed by a departure from that statement, is known as:|
|5.|cadence | |A place in a melody where a musician will most likely pause for a breath is at the |
|6.|call and response | |A performance practice based on the concept of a singing leader imitated by a chorus of followers|
| | | |is called: |
|7.|canon | |A work that is comprised of a strictly imitative musical texture is called a: |
|8.|chord | |Three or more tones sounded together produce a(n): |
|9.|climax | |The high point of a melodic line is considered its |
|10|compound | |Which of the...